I didn't know the director of this film and I'm glad to have had it :). I really enjoyed this film. Very meta and with an original and ironically fatalistic story. The acting was also amazing (there is something in the eyes of the guy who played François...even with the the fact that the film's image is in black and white....I will never forget the way he looked to the girl who played Lucie in the coffee scene!!) Well...I don't know what more to say...I'm still feeling the film...Just run to watch it...I don't promise you will like it...but watch this one anyway!!

It's almost morbidly comedic that in a film about someone making an anti-drug film, he ends up putting so much stress on his main actress that she gets hooked on heroin to ease the pain. All throughout the film, Francois thinks the main problem that killed his wife was the drug itself, as he attempts to -in his words - demargianilize addicts. To make a film that can help cure the world of addiction, you can't shame or dehumanize addicts. The problem isn't the drugs or the person (though they do play a part), the problems are the lack of empathy and understanding towards people who are addicted. (*SPOILER ALERT*) Francois gets this rude awakening as he sees the body…

Again, Garrel's maturity in storytelling shines through in this film. After slogging through much of his experimental earlier work, it is great to see him tell an intriguing and engaging story like this.

A fascinating story that kind of becomes instantly ironic and very, very meta. Loved that aspect of this film.

Solid performances all around as well. Great cinematography as per usual in a Garrel film. This is a fantastic culmination of his work. Well worth the wait.

Although the ending has to be predectible so the film works as a complete circle, what is really intriguing is the ghost story behind the whole plot. Carole's sudden apparition fulfils the film. In addition to that, Agustin's character becomes an essential piece in the structure. He is another kind of living ghost.

stayed away from this Garrel because the premise made me cringe (bad dramatic irony), but like so many of Garrel's narrative films, it is really a study of masculinity and power relations between men and women and how the past holds sway over the present (and especially, cinema's historic present tense, the layer that is most interesting yet most difficult to write about and what keeps me coming back to his delicate imagery). Michel Subor and Garrel's director stand-in interrogate one another yet remain tied to the way the past has marked them. it all ends (predictably) tragically but muted in a way that dampens emotion, renders it imprecise through a kind of blunt naturalism. producer and director are drawn…

"I need to make this movie immediately so I can cast my current muse as my ex-lover." As usual with Garrel, story of my life. Francois' description of his character as a self-loathing, beautiful "dark planet" is right on the money. Precise and unsentimental. An all-time favorite.